Raunchy, loud, and consistently funny, Neighbors shows what happens when a young family trying to settle down meets with college kids looking to live it up. Rogen and Efron fight well against each other as rival neighbors, comically playing with their Pineapple Express and High School Musical pasts with the support of a solid cast across the board. If you want a steady stream of hilarious one-upmanship, Neighbors is a movie to catch.

Jim Jarmusch is the rare filmmaker that is as enthusiastic about film as he is about music, literature, and numerous other arts.This wide berth of knowledge provides the groundwork for his latest effort, Only Lovers Left Alive.Overflowing with references to everyone from Rodney Dangerfield to Schubert, Jarmusch hypnotizes as often as he confounds in a film that praises the virtues of beauty and love at a time when they need it the most.

The Sacrament is Ti West’s best film yet. We follow three VICE correspondents into a utopian community called Eden Parish; they want to investigate for the show and meet the one they call “Father”. Ti West revels in the slow burn suspense, and the way he ratchets up the tension is masterful. The end game is reminiscent of a real moment in history, but as seen here it carries a weight and an inevitability that will leave you shaken as the credits roll.

PFF22 Alum The Sacrament is now available VOD.

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Keegan Handley is a film major at Temple University interested in the cinematic form and all it has to offer. He’s a lover of music and good beer and is partial to horror movies but appreciates any and all flavors of movie…even the bad ones. A huge fan of intricate camera shots, he hopes to one day contribute both his writing and his burgeoning Steadicam prowess to the film world.

I saw it on Cult Weekend at the Uptown Minneapolis Theatre, along with my favorite bad movie The Room, on the last weekend of the month. Now, I’m going to take an unpopular position and say that Rocky Horror is not a good movie like many argue, but is so bad that it’s rather entertaining. Now, before you find me with your pitchforks, at least give me a chance to explain why.

As the aristocratic French Captain de Boeldieu (Pierre Fresnay) lies prostrate on his death bed, a gunshot wound in his stomach just off screen, he utters to his assassin, the German Rittmeister von Rauffenstein (Erich von Stroheim): “For a commoner, dying in a war is a tragedy. But for you and I, it’s a good way out.” And so goes ‘the grand illusion’ of Jean Renoir’s 1937 masterpiece, a war film that is curiously less about the hostilities of World War I, and perhaps more concerned with a shared humanism in the wake of an abrupt new world order.

Amma Asante’s Belle paves the way for future costume dramas with the true story of Dido Belle Lindsay, the daughter of an enslaved African woman and Admiral John Lindsay. Set in 18th century Britain, Dido’s lineage causes uncertainty in regards to her freedom, but assures a life of solitude and continued prejudice. In the sea of recycled period pieces, Belle stands alone in its feminist-friendly portrayal of a woman of color. Just not for too long, I hope!

If war has become its own cinematic genre, then certainly Vietnam movies constitute a certain subgenre, populated with critically acclaimed works like Platoon, The Deer Hunter, and Apocalypse Now. An intricate piece of a tumultuous era in history, the Vietnam War has since occupied a precarious position in the collective memory of the American consciousness as an incredibly unpopular armed conflict rife with discontent both on the frontlines and the home front.

It is here that Stanley Kubrick inserts his controversial 1987 Full Metal Jacket – a piercing, violent, and unwavering depiction of the psychological and physical trauma experienced during the Vietnam War.

Andrew Gitomer’s Past Present Future is a feature-length film about two close friends who had had an on-again, off-again relationship since high school, and meet up for the first time after three years apart. The film is structured so that the audience is able to see the course of their friendship play out in flashbacks while they confront their complicated past. Writer/Director Gitomer’s decision not to edit the film in chronological order was a conscious one that gives the film an emotional power that should resonate with anyone who has ever been in or been a witness to a similar situation. Indeed, the film itself is one of the best portraits of young people in modern America that has come along in quite some time. When I spoke to Gitomer and his Director of Photography Jonathan Stromberg after the film, Gitomer described his desire to push the youth angle when promoting the film.

Jonathan Glazer has been called an heir to Kubrick, but the truth is that, over the course of three feature length films, a dozen music videos, and countless commercials, Glazer has repeatedly proven that he is a filmmaker who stands apart with his own idiosyncratic vision. His latest work Under the Skin takes Michel Faber’s acclaimed 2000 novel and infuses it with a cinematic power capable of changing the way the viewer looks at the world.